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Tributaries on the Name of the Journal: Alabama’S Waterways Intersect Its Folk- Ways at Every Level Tributaries On the name of the journal: Alabama’s waterways intersect its folk- ways at every level. Early settlement and cultural diffusion conformed to drainage patterns. The Coastal Plain, the Black Belt, the Foothills, and the Tennessee Valley re- main distinct traditional as well as economic regions today. The state’s cultural landscape, like its physical one, features a network of “tributaries” rather than a single dominant mainstream. — Jim Carnes, from the Premiere Issue JournalTributaries of the Alabama Folklife Association Joey Brackner Anne Kimzey Deborah Boykin Editors 2010 Copyright 2010 by the Alabama Folklife Association. All Rights Reserved. Issue No. 12 in this Series. ISBN-13: 978-0-9772132-3-8 • ISBN-10: 0-9772132-3-4 Published for the Alabama Folklife Association by NewSouth Books, Montgomery, Alabama, with support from the Folklife Program of the Alabama State Council on the Arts. The Alabama Folklife Association c/o Alabama Center for Traditional Culture 201 Monroe Street, Suite 110 Montgomery, AL 36104 Russell Gulley Duncan Blair President Treasurer Joyce Cauthen Executive Director Contents Editors’ Note ................................................................................... 7 Roots of Birmingham’s Gospel Quartet Training Culture: Spiritual Singing at Industrial High School ........................ Lynn Abbott and Doug Seroff 9 Camp Fasola: Teaching “Tradition” ................ Jonathon M. Smith 28 Singing Buildings in Wiregrass Alabama* ..... Jerrilyn McGregory 45 Japheth Jackson and the Jackson Memorial Singing .............................................................Joey Brackner 58 “A Joyful Sound”: The Church Music of Covington County, Alabama .....................................C. Randall Bradley 69 Singers, Singing-school Teachers, Songwriters, Editors, and Publishers of Shape-note Gospel Music in Alabama ...........................Steve Grauberger 90 Contributors’ Notes ........................................................................ 111 AFA Membership and Products ....................................................... 115 In Memoriam Japheth Jackson and Bess Lomax Hawes at the 1988 Dewey Williams Birthday Singing. (Photo by Joey Brackner, courtesy of the Alabama State Council on the Arts) Editors’ Note labama’s sacred music is the theme of Tributaries, Volume 12. This issue A features articles by several former contributors to the journal including Joey Brackner and Steve Grauberger of the Alabama Center for Traditional Culture, Florida State University’s Jerrilyn McGregory, and independent scholars Lynn Abbott and Doug Seroff. We also welcome first time con- tributors Randall Bradley of Baylor University and Jonathon Smith of Pellissippi State Community College. Abbott and Seroff offer an examination of the role of public educators in a community’s music traditions. Smith takes an in-depth look at Camp Fasola, an innovative grassroots approach to perpetuating Sacred Harp singing. Brackner’s paean to Sacred Harper Japheth Jackson of Ozark profiles a mostly unsung hero of African American music. McGregory documents the importance of singing venues in the Wiregrass. Bradley offers us an overview of the sacred music landscape of a south Alabama county. Grauberger’s article on Alabama’s shape-note gospel contributions is drawn from his recent research which resulted in the documentary CD, “New Book” Gospel Shape Note Singing. The folklife community of Alabama mourns the loss of Bess Lomax Hawes who died November 27, 2009. As a member of the famous Lomax family of folklorists, she was no stranger to Alabama. Bess’s work positively affected Ala- bama. During her tenure at the National Endowment for the Arts, she strove to establish a network of “state folklorists.” During the 1970s and 1980s, at the behest of Hank Willett, Alabama’s first public folklorist, she visited the state frequently. Bess later lent her advice towards the establishment of the Alabama Center for Traditional Culture—the folklife division of the Alabama State Council on the Arts. During the past few years, we have mourned the passing of several significant Alabama folk artists. This year, we lost Henry Japheth Jackson, the last remain- 7 8 Tributaries Issue 12 ing singing master of the Wiregrass Sacred Harp Singers. His death occurred as we were compiling this issue. Because the article in this issue honors his life and accomplishments, we omitted the obituary that we typically run when we have lost a past recipient of the Alabama Folk Heritage Award. We also want to note the “retirement” of Joyce Cauthen, the longtime executive director of the Alabama Folklife Association. We expect Joyce to remain an active force in the Association and to become a contributor to this journal. We appreciate the many suggestions by AFA members and others and wish to acknowledge the annual copyediting and design efforts of Randall Williams. Please send your suggestions, comments, and contributions for future issues. Alabamafolklife.org offers an easy way to purchase AFA documentary products, join the AFA, and order current and past issues of Tributaries. The website also has updates on the AFA annual gathering, current projects and news about the biennial Alabama Community Scholars Institute. Data forms for fieldwork can be found under the “Resources” section of the website. For your convenience, we have also included information about the Alabama Folklife Association and its documentary products at the back of this issue. The AFA now has a page on Facebook as well, offering updates on folklife events around the state. Deborah Boykin, Joey Brackner, and Anne Kimzey Alabama Center for Traditional Culture 334-242-4076 (Deb, x-243) (Joey, x-225) (Anne, x-236) [email protected] [email protected] [email protected] Roots of Birmingham’s Gospel Quartet Training Culture: Spiritual Singing at Industrial High School Lynn Abbott and Doug Seroff efferson County, Alabama, incorporating the city of Birmingham and the Jneighboring towns of Bessemer and Fairfield, was a cradle of black gospel quartet singing. Grassroots music pedagogy, presided over by community- based trainers, was the critical factor behind the intense outbreak of religious quartet singing which took place there after World War I. This traditional quartet instruction was directly connected to modes of formal music education practiced in segregated Southern public schools. Early in the twentieth century, voice culture was a routine part of primary and secondary school curricula in many parts of the South. African American teachers wedded lessons in the formalities of harmony singing to the Negro spirituals, and staged musicales and pageants in which spiritual singing was a feature. In Birmingham, Alabama, dynamic, enlivening music education took place at Industrial High School. Industrial High was Birmingham’s first African American four-year high school. It was founded in 1900 by an African American, Arthur Harold Parker, who served as its principal for the next forty years.1 Principal Parker cultivated an educational environment conducive to the development of outstanding vocal and instrumental music, both among his students and in Birmingham’s black community. Thousands of young people received foundational training in harmony singing at Industrial High School, and many more nonstudents were touched by “Community Sings” held in the school auditorium. The daily Birmingham News took note of Parker’s far-seeing attitudes re- 9 10 Tributaries Issue 12 garding the value of racial folk music as early as 1903, when it reported that during a visit from the superintendent of public schools, “Principal Parker marshaled the entire school to the largest room” for an informal demonstration of unaccompanied vocal music. It was natural music sung by note and thoroughly melodious. A number of old plantation songs were rendered to the delight of the visitors. It appears that the idea which has taken hold upon many latter day Negroes of eschewing the old time Negro songs has found no lodging place with the instructors of this school, who insist that the pupils, while they can also sing popular and up-to- date selections, shall not forget the old plantation songs.2 In 1914 Industrial High School hosted a “Summer School for Negro Teachers” that included a course titled “Music: Vocal, including Public School Methods of Teaching Plantation Melodies.”3 Parker had an expansive, even visionary concept of black musical traditions; “plantation melodies,” especially Negro spirituals, were central to his efforts to elevate the musical heritage through race pride and education. In later years he was able to claim: The singing of the Negro spirituals by our pupils has brought national fame and the pupils have given coast-to-coast broadcasts of this typical American music . [M]usic has played a large part in building commencement programs. For June 1934, the theme was “Some Achievements of the ‘American Negro’”; a whole section of the program was devoted to Negro music. Various types of music, including the “St. Louis Blues,” were sung by the class, and a critical analysis was given of each type . In order to show the phases of dramatics taught in the school, the program for January 1932 was made up of a pageant, a one act play and, believe it or not, a miniature blackface minstrel show.4 Industrial High School’s commitment to perpetuating Negro spirituals was eloquently expressed in a paper read at commencement exercises in 1914 by R. Ernestine Diffay, one
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